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Happy Nappy Day / Poets in the Park 2020 | Sunday, August 9th

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Happy Nappy Day/Poets in the Park returns for a celebration of our culture, heritage, and hair! Don’t miss it!

We’re keeping the tradition of this event going – a cultural celebration of our hair, our health, our heritage, our art in motion, and the black businesses that we cross-support through Happy Nappy Day/Poets in the Park!

Vendor booths available. If you are a Baltimore Natural Hair Care Expo 2020 vendor, your event reservation is transferable to this event.

Stay tuned for more event details as the event draws near.


Gwynn Oak Park

Gwynn Oak Ave

5010 Gwynn Oak Ave

Gwynn Oak, MD 21207

1pm – 8pm


VENDORS WELCOME!
*Vendor booth fees are non-refundable but can be transferred to a future event.*

RSVP @ Eventbrite

 

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Anacostia

#SAVEDC! Help M.I. to Raise the Awareness – Saturday, August 15th @ 6:45 PM

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#SAVEDC!

Help M.I. to Raise the Awareness!

A gun violence discussion with the community & families of Davon McNeal & Carlos General

Saturday, August 15th

Saturday’s virtual zoom which will begin at 7p.m. Please find the enclosed link for tuning in below. The event will be live streamed on YouTube as well as Facebook in addition to Zoom.

Please share with as many in your base as possible!

We have to do something about the continuous loss of life and the disconnection of our youth!

There are many philosophies surrounding the nature of this senseless gun-violence and the cycles of despair that many of our youth are caught up in.

Please plan to participate as we feel that it takes a village to not only come to the table but to remain at the table, as we peel back the layers and address this matter and all of the supporting circumstances that have us as a culture losing our young men and youth daily.

M.I. wishes to extend a very special “thank-you” to the family members who are courageously willing to come forward for the benefit of saving our youth despite the loss and unfortunate situations currently facing their families. The show of humility and understanding is not taken lightly and we are forever indebted to your sacrifice and for you heeding the call.

Login to Zoom link to participate @

https://us02web.zoom.us/j/9244574084?pwd=ZmpsZjdOK3VqSVJaOVpJQnF1bHRMdz09

Topic: Help M.I. to Raise the Awareness! #SAVEDC
Time: Aug 15, 2020 06:45 PM Eastern Time

 

Details about the shooting @ https://www.washingtonpost.com/local/public-safety/davon-mcneal-shot/2020/07/05/16390c1a-bec6-11ea-b178-bb7b05b94af1_story.html

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Entertainment

Black Is King Does Everything It Needs To

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Photo: Parkwood Entertainment
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Beyoncé’s nearly 20-year journey in film is as much a testimony to her tenacity as her formidable catalogue in music. Her work in the two fields grows a little more challenging at each turn. While she blossomed as a songwriter during her stint as leader of Destiny’s Child and came out of it as the premier contemporary R&B artist of the 2000s, she took quirky film roles starring alongside comedy icons Steve Martin and Mike Myers in The Pink Panther and Austin Powers: Goldmember. In the mid-aughts, Cadillac RecordsThe Fighting Temptations, and Dreamgirls posited Bey as a multi-hyphenate actor-slash-performer in the style of Whitney Houston, but, lacking a blockbuster like 1992’s Oscar- and Grammy-winning The Bodyguard (critically reviled though that movie might have been in its time), Beyoncé’s early films seemed like obligatory star-making gestures, less like parallels to the movies of multimedia double threats like Madonna and Dolly Parton and more like peers to the works of Jennifer Lopez and Justin Timberlake, musicians whose early film endeavors were hit or miss, relaying an eagerness to branch out of music sometimes lacking in good taste. For every memorable turn in Selena or The Social Network, there was Gigli or The Love Guru or Jersey Girl or Yogi Bear. Beyoncé’s role in the 2009 stalker drama Obsessed, in which she kills Ali Larter’s character in a fight sequence frankly funnier than any of her official comedic performances, did not help matters.

In the past decade, experiments Beyoncé did with the music-video format — alongside Kanye West, whose My Beautiful Dark Twisted Fantasy album was heralded by the fantastical short film Runaway — have shifted the standard for pop-star video excursions, looking to monocultural audio- visual events like the Beatles’ Hard Day’s Night, Prince’s Purple Rain, and Michael Jackson’s Moonwalker for tips in spinning storytelling and performance into a unified narrative thread. Her surprise 2013 self-titled visual album laid important groundwork that she would build upon in 2016’s HBO film Lemonade, which recounts the story of an apparent near miss with divorce but works on secondary levels as a celebration of Black womanhood and a dive into the knotty history and iconography of the South. (Props to Life Is But a Dream, a chronicle of her album and tour and her difficult first pregnancy, and Homecoming, which details the making and execution of Bey’s 2018 headlining Coachella performance, but those are documentaries and more of a testament to Beyoncé the archivist rather than the ambitious storyteller we’re lauding today.) This year’s Black Is King, a full-length film that uses last year’s The Lion King: The Gift as its soundtrack and source text, is the culmination of everything Beyoncé has learned in film since breaking out in Carmen: A Hip Hopera.

Read more at Vulture

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